Chris’s Cache offers three striking interpretations of another Gluck masterpiece Alceste from Janet Baker, Anna Caterina Antonacci, and Véronique Gens
Un ballo in maschera—but instead of a tragedy, an opera buffa—and in Danish?
This Met’s second production of Berg’s 1935 opera was the hot topic of November 2015.
Unlike my friend Greg Freed, who entertainingly wrote of his ambivalence about seeing Il trovatore in a movie theater this season, I have embraced the Met Live in HD transmissions as a part of the modern operagoing experience.
Lilith. Pandora. Circe. Salome. “La Belle Dame sans Merci.” Carmen. Brigid O’Shaughnessy: the eternal “femme fatale” still fascinates us.
The simple fable at the heart of Die Frau ohne Schatten shouldn’t be difficult to parse, but Hugo von Hofmannsthal’s libretto juggles its vaguely Jungian, vaguely Arabian Nights symbolitry as if with intent to mystify and bewilder.
Midway through his traversal of Wagner’s 10 mature operas for PentaTone, we’ve learned this about Marek Janowski:
Janácek’s Makropulos Case has only chalked up thirteen performances in three previous runs at the Met and will have just five more this season. Try to catch at least one.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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